The dream’s dead. Go home folks.

(Source: groban)

A great choice for Batman handling the morons in a great way.

(Source: cavortings)

(Source: jamesbadgedale)

Movies Watched in 2013:

151.) No Country For Old Men, 2007, dir. by Joel and Ethan Coen — 9.5/10

One of the greatest casts ever in terms of across-the-board consistent performances. One of the most terrifying villains ever. One of the greatest endings ever. One of the most heartbreaking, scary, crushing, hopeful, poignant stories ever told (of course thanks to the legendary Cormac McCarthy). Still just the third best film of 2007, though, Academy of Motion Pictures Arts and Sciences, near-perfect or not.

Movies Watched in 2013:

150.) Pirates of the Caribbean: At World’s End, 2007, dir. by Gore Verbinski — 7/10

Despite the fact that the plot finally does take on a little bit more than the running time could handle (that’s right, I’m saying it’s actually too short to handle everything that’s going on), the third film doesn’t deserve a thirtieth of the hate it takes on the depressingly cynical internet. The effects are mindblowing, Depp was in fine form, Geoffrey Rush again tries to steal the whole thing, and the Maelstrom and subsequent destruction of the delightfully evil Lord Cutler Beckett is, for my money, one of the best twenty minute stretches in blockbuster memory. Yeah, the Calypso stuff takes too much attention away from the far more interesting East India Trading Company vs. Pirates story being told, but more Bill Nighy can’t ever be a bad thing, so it all works out in the end.

  1. Aperture: f/74099370.666667
  2. Exposure: 74099370.666667"
  3. Focal Length: 74099370mm

Movies Watched in 2013:

149.) Cloverfield, 2008, dir. by Matt Reeves — 6.5/10

After a year of mysteries, Matt Reeves and co-conspirator J.J. Abrams finally revealed the truth behind Cloverfield to the world in January of 2008, and it to this day stands as one of the best theatrical experiences I’ve ever had. The movie is filled with fantastic special effects, some smart usage of the usually poorly-done found footage style, and, though some of the actors have gone on to make names for themselves, it felt “real” enough in that first viewing. It’s strange that this was the first big-budget found footage movie and also the last, but I suppose it makes sense. The only way to do another one would be to do it in a way that’s derivative of this. The Abrams haters will tell you this is a nausea-inducing mess, but, then again, who the hell cares what they think? It will never live up to that first theatrical experience that so many of us fondly remember, but it’s still a pretty killer way to spend 80 minutes.

Maximus. Maximus. Maximus. They call for you. The general who became a slave. The slave who became a gladiator. The gladiator who defied an emperor

Can we stop and talk about how ridiculously amazing Joaquin Phoenix is in this movie?

(Source: bradleycoopr)

Movies Watched in 2013:

148.) My Amityville Horror, doc., 2012, dir. by Eric Walter — 4.5/10

In attempting to tell perhaps one of the most interesting stories of an American family there is, Eric Walter has somehow managed to deliver a dull, narrative-free mess of a documentary. Not all of the blame should fall on Walter, of course. Daniel Lutz, the subject of the documentary and the so-called “Amityville kid,” is clearly not being truthful much of the time. I don’t know if he realizes what he’s saying isn’t true, and it’s very obvious that this is a man with severe emotional and mental struggles, and that’s very understandable. I don’t hold anything against the man.

Clearly, something happened in the mid-70’s at that infamous house. Was it a haunting, demonic activity, or anything of that sort? I’m not sure. Lorraine Warren seems to believe it was a manifestation of some sort of evil, and the woman has no reason to lie about that. I doubt I’d trust anyone on the subject more than her. The documentary barely gives her any time, though, and, when it does, barely any of it is actually focused on the story at hand. A lot of this falls on Walter again, because his questions are terrible. He doesn’t know how to get to the point, to hit someone in an emotional spot in a way that’s encouraging discussion instead of simply frustrating them.

Case in point: the very final scene. Walter clearly pisses Daniel Lutz off severely, and Lutz has good reason to be pissed. After everything, Walter basically comes out and call Lutz a liar. I don’t think Lutz was telling the truth, but by calling him a liar you’re putting him on the defensive, not sparking further conversation. The line between good documentary filmmaking and bad documentary filmmaking is not thin. Just watch something like Werner Herzog’s Into the Abyss — Herzog asks a seemingly meaningless question about a squirrel that results in a subject breaking down in tears and explaining their true thoughts on a matter. Herzog, you see, understands the issue being discussed and is able to figure out a way to get his subjects to that point, to guide them into letting go of whatever it is in a way that relieves them, not causes them further trouble. Daniel Lutz has had enough trauma in his lifetime. Something, whatever it was, happened to him as a child that no kid should have to go through. The lazy, poorly-planned interviews with everyone involved do nothing to tell us the story. It remains as much a mystery as ever. While it’s interesting to hear some more personal accounts of whatever was happening in that home, it’s basically just adding slight details to what any of us who have read into the case already knew.

Add onto this the fact that the film is poorly shot, that Go Pro cameras are often on screen in shots and yet are sporadically used (and even then unnecessarily so), and it’s just a mess. Keep your cameras and mics and camera bags off screen. Keep yourself out of the documentary. Get the subjects to tell you what happened and compose it in a meaningful way. It can be simple. Whatever you do, don’t do what Eric Walter has done with My Amityville Horror.

Movies Watched in 2013:

147.) Pirates of the Caribbean: Dead Man’s Chest, 2006, dir. by Gore Verbinski — 7.5/10

The second entry in Disney’s mega hit franchise expanded the story mightily, bringing in many new characters, a surprisingly complex plot, and some of the most jaw-dropping special effects the world had seen up until that point. Many don’t look kindly on Dead Man’s Chest or its follow-up, but I think it’s almost as strong as the first, a brave expansion of the already intriguing mythos of the fictional pirate-plagued world Disney created. Verbinski’s direction is again the standout, with some phenomenal cinematography by Dariusz Wolski. And the addition of Bill Nighy as Davy Jones? Yeah, that’s a pretty big plus.